Deception
The central conflict in this play stems from Mrs. Alving's profound regret over her decision to mislead the world about Captain Alving's true character. She believes she should have disclosed the truth to Oswald much sooner. While Oswald's inherited disease from his father might have been unavoidable, being upfront with him from the start could have spared him the shock and confusion of learning that his seemingly virtuous father actually had syphilis. This revelation might have also deterred Oswald from adopting his current cynical perspective.
Pastor Manders, however, supports the notion of deception. When Mrs. Alving discusses the importance of honesty, he counters by highlighting the value of ideals. He contends that, regardless of the facts, Oswald needs to cling to his ideals and that Mrs. Alving should not tarnish his perception of his father if it gives him something to believe in.
In the end, the pastor's endorsement of deception backfires. His romanticized view of Engstrand as a fundamentally good, though flawed, individual causes him to trust Engstrand's version of the orphanage fire over his own recollection. Pastor Manders is easily misled because his dedication to the truth is so flexible.
Loyalty
In Ghosts, authentic loyalty is found solely between Mrs. Alving and her son. Other examples of supposed loyalty appear sincere but are actually driven by social convenience. A clear case of this false loyalty is depicted early on between Engstrand and Regina. Engstrand requests Regina's help with the sailors' home, feigning concern for her as his daughter. However, he lacks the cunning to sustain this charade and eventually admits he wants her there just because having a woman around would benefit the business. Later, he is equally disingenuous when he tells Manders, "Jacob Engstrand may be likened to a guardian angel, he may, your Reverence." The alleged threat he claims to shield the pastor from is the very accusation that Engstrand himself concocted about the orphanage fire.
Manders claims loyalty to the sanctity of marriage, yet when discussing the moment Helena Alving sought refuge in his home after leaving her husband, his primary concern is the potential scandal it could have caused. His motivations are more about avoiding social backlash than genuinely upholding religious and social values.
Oswald feigns loyalty to Regina, the maid, but after disclosing the truth about his illness, he reveals his dependency on her to care for him as his condition deteriorates. Regina initially vows loyalty to Oswald, but upon discovering they cannot marry and that he is ill, she considers these legitimate reasons to end their relationship. Her response is drastic as she immediately plans to leave upon hearing the news.
Moral Corruption
Ibsen uses Oswald’s illness as a metaphor for the corruption inherited from past generations. When Oswald reveals his diagnosis to his mother, he cites the doctor, who makes a moral observation: "The sins of the fathers are visited on the children." This statement is logical because, biologically, Captain Alving's blood tainted his unborn son. Morally, it aligns with Oswald's behavior, as he emulates his father's promiscuity after learning about it. His habits of smoking his father’s pipe, frequent drinking, and flirting with the maid mirror his father's actions, highlighting his inherited traits. Ibsen uses the transmission of syphilis to demonstrate how immorality can be passed down, almost like a genetic trait.
The concept of inherited morality within a family is also examined through Regina. Throughout the play, she mirrors her mother's choices: working as a maid in the same household and being willing to become a wealthy man's mistress to achieve her ambitions. Upon discovering that she is Captain Alving’s daughter, she...
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claims the Sailor’s Home named after him as "one house where I’ve every right to a place." Even though it is not a reputable place for a woman, her ties to Engstrand and the Captain make it her rightful inheritance.
Pastor Manders worries that Mrs. Alving will be morally compromised by reading modern, free-thinking literature. However, these readings actually provide her with a sense of reassurance. Instead of corrupting her, they make her feel less alone in her views. She tells him, "I seem to find explanation and confirmation of all sorts of things that I myself have been thinking."
Victim and Victimization
Ibsen’s realistic style ensures that even the most downtrodden characters do not simply appear as victims. The play's most tragic figure, Oswald, suffers from a disease passed down from his father. For much of his existence, Oswald was unaware of his condition and never contemplated its possibility. Despite his unfortunate situation, labeling him as a victim is challenging because his character lacks the innocence typically linked with victimhood. At his core, Oswald is self-centered. He loathes the idea of illness because it will incapacitate him, and he is full of vitality. His attitude towards his mother is evident when he says, “you can be so very useful to me, now that I’m ill.” His interaction with Regina is similarly transactional, focusing on her capacity to help him during his illness. In a sense, the sufferer of the inherited venereal disease uses his adversity to rationalize exploiting those around him.
Throughout the play, Mrs. Alving reassesses her relationship with Captain Alving. Initially, she tells Pastor Manders how she was victimized by the captain. She describes her life with him and without him as a continuous struggle to shield Oswald from the truth about his father. Later, she criticizes herself for being cowardly for not disclosing the truth to Oswald. She also explains the efforts she made to keep the captain at home, ensuring he wouldn't tarnish his reputation by indulging in nightlife and pursuing women. Ultimately, Mrs. Alving regrets these actions and takes responsibility instead of blaming the captain. By the final act, she sees him as her victim, believing she suppressed “the overpowering joy of life that was in him.”
